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Drama: The Merchant of Venice learning and Teaching Guide

Book · January 1998

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 Drama

The Merchant Of Venice

Learning And Teaching Guide

[HIGHER]

David M. S. Roy
Contents

Introduction

Section A - Overall directorial interpretation and dramatic commentary

Act One

Act Two

Act Three

Act Four

Act Five

Section B - Directory of acting pieces

Introduction

This publication should be used in conjunction with the information pack on The
Merchant Of Venice ( reference number HG/PHG/DRA/007/SD) which was issued by the
Scottish CCC in 1993. The new material has been written both as a resource for teachers
and as a study aid for students working on Unit 2 ( Study of a Text in its Theatrical
Context) of Higher Drama.

Section A provides a list of the features of each key scene or episode in The Merchant Of
Venice which would be important in any production of the play. It also provides space for
the student to record why each key scene would be important in his/her intended
production.

Section B provides a directory of possible acting pieces in terms of casting, suitable

length and specific challenges to the actor.

All textual references are to the recommended edition of the text which is published by
Thomas Nelson & Sons Ltd under The Arden Shakespeare Series, edited by John Russell
Brown (1955 / 1997).

Other resources for this unit include the following:

 The Arrangements for Drama published in 1997 containing detail of content,
suggested learning and teaching approaches, guidance on assessment and unit
descriptors.
 The Subject Guide for Drama, the first installment of which was published in 1997,
includes guidance on learning and teaching in general, bi-level teaching,
differentiation, workshop approaches to the text, health and safety guidelines,
ensuring appropriate access for students with special education needs.
 The National Assessment Bank packages published in 1998 for each unit of Drama
include all checklists, task sheets, marking instructions and guidance necessary to
carry out the internal assessment of each unit.
 A video is in preparation which exemplifies standards of practical performance for
Investigative Drama (Unit 1), and for Acting in both Study of a Text in its Theatrical
Context (Unit 2) and Contemporary Scottish Theatre (Unit 3).

I must thank the help, comments and advice of Carol Ford, Alison Graham, Gordon
Jarvie of the SCCC, Karen Roy, and the staff and pupils of Stonelaw High School (South
Lanarkshire).
Section A
Act One
(pages 4 - 31)

Why would Act One be important in any production of the play?

Provides context of the play and gives background to the action/storyline
 We learn of Antonio’s business dealings
 Bassanio has used up his own wealth, is in debt to Antonio which he cannot repay and yet wishes to
borrow more.
 Bassanio is in love with Portia
 Portia’s father is dead and yet she is not able to choose her own husband
 Christians cannot lend money and charge interest, yet Jews can.
 Antonio and Shylock do not like each other, indeed there is a past hatred between them.
 Christians and Jews had different status in society. Christians could attack Jews while Jews were
unable to retaliate due to the law of Venice

Begins plot
 We are introduced to the fact that Antonio’s finances are tied up in business ventures at sea, and a
disaster would leave him penniless -Act One (Scene One). This idea is further developed by Shylock -
Act One(Scene Three).
 Bassanio’s desire to win Portia’s hand in marriage.
 Shylock’s hatred of Christians and Antonio in particular.
 Portia is unable to choose her own husband, but rather must marry the man who selects the correct
casket.
 Portia’s interest in a Venetian soldier who once visited her father’s house (Bassanio).

Introduces key characters

 Antonio is established as a wealthy merchant, who has invested heavily in sea trade, and who has deep
affection for the younger Bassanio. This affection means he is willing to borrow from a Jew, a dealing
he dislikes, on behalf of his younger friend.
 Bassanio is introduced as a headstrong young man. Close friends with Antonio he has used up all his
own wealth and borrowed from his friend yet is unable to repay him. He sees the danger of Shylock’s
bond, but allows Antonio to agree to it. He has quickly fallen in love with Portia.
 Portia appears as a strong, witty, intelligent woman. While it might seem unusual that she is trapped in
to arrangements for marriage set by her dead father, this was common at the time that Shakespeare
wrote the play. Portia also appears to have another side, in her racist attitudes to her foreign suitors.
 Shylock, a Jewish moneylender, can be seen to be both a victim and a villain. Obviously intelligent,
we discover he is driven by his hatred for Christians, but it is also revealed to us that this may be due to
how he has been treated.
 Nerissa and Gratiano are introduced initially as being characters of humour and cruder versions of their
companions, Portia and Bassanio respectively.
 Solario and Solanio, similar to the point of being difficult to differentiate between, are also wealthy
citizens of Venice, who wish to have dealings with Antonio to improve their own fortunes. They also
act as narrators, informing of events that are not portrayed on stage.

Establishes central themes and issues

 Revenge is introduced by Shylock in Act One (Scene Three), when deciding to deal with Antonio.
 This theme is tied to the theme of bonds that exist between people. Antonio and Bassanio both are
bonded to each other through their love and friendship and financially. Antonio and Shylock are
bonded through hatred and now financially. Family bonds, through Portia is introduced in t relation to
 her father’s will and whom she will marry, though it appears that it is purely a promise that keeps her
to this.

Why might Act One be important in your production of the play?

 As a director, how will you ensure that your audience understand the background to the play?
Are they familiar with the conventions and attitudes of Shakespeare’s time?

 How will your production establish a setting other than 16th/17th Century Venice?

 What are your directorial concepts? How will Act One introduce them?

 How do you want you audience to feel towards Antonio? How will this affect the acting of his
character?

 How do you want you audience to feel towards Bassanio? How will this affect the acting of his
character?

 How do you want you audience to feel towards Portia? How will this affect the acting of her
character?

 How do you want you audience to feel towards Shylock? How will this affect the acting of his
character?

 What kind of relationship between Antonio and Bassanio do you want to create?

 What kind of relationship between Portia and Nerissa do you want to create?

 What attitudes towards Shylock do you want Antonio and Bassanio each to show?

Notes
Act Two
(pages 32 - 69)

Why would Act Two be important in any production of the play?

Development of plot
 At Portia’s house in Belmont, the Prince of Morocco arrives to choose a casket, with Portia revealing
her own prejudices.
 Shylock’s servant, Lancelot Gobo, reveals he wishes to leave Shylock’s service for Bassanio who
accepts him.
 We meet Jessica, Shylock’s daughter. Her unhappiness in living with Shylock is revealed and she
decides to run away from her father and marry Lorenzo; stealing her father’s jewels and becoming a
Christian. This is important as not only is she betraying her father and stealing from him, but her
renouncing of her Jewish heritage is one of the worst things that could happen to Shylock as the family
line is passed on through the daughter.
 Shylock’s lack of awareness of his daughter’s feeling are shown, and later we discover, through
Salerio and Solanio’s second hand account, Shylock’s reaction to the loss of his daughter, the jewels
and his daughter becoming a Christian.
 We discover the means that Portia’s husband will be the suitor who chooses the correct casket. The
Prince of Morocco and the Prince of Arragon chose incorrectly, therefore the audience now knows
which is the correct casket. We also hear of the arrival of a new suitor, who is a Venetian and may be
Bassanio.
 We also discover that a Venetian ship which has been lost in the English Channel may be one of
Antonio’s, thus developing the portents of doom from Act One.

Further illustration of themes and issues

 The theme of bonds is developed further. The family bond is broken by Shylock’s daughter Jessica.
The bond of a word is also developed. As the Prince of Morocco and the Prince of Arragon, have
chosen the wrong, casket they cannot propose marriage ever again. Since a prince’s reputation rests
upon his word, they cannot break this bond. This is in contrast to the promise Jessica makes to her
father Shylock.

Development of character and relationships

 The introduction of Lancelot Gobo in Scene Two allows for comic respite in the unfolding story, while
allowing the audience an insight into how Shylock manages his household.
 Jessica is introduced, and her relationship to her father is revealed, although it could be portrayed as
either giving sympathy to Shylock, or against him.
 Antonio’s treatment of Bassanio in Act Two, Scene Eight is shown in contrast to that of his treatment
of Shylock.
 Portia’s character is greatly developed in her treatment of both the Princes. This can be tempered
depending on how the Prince of Morocco is portrayed, either as a self important fool or a man of great
dignity.

Why might Act Two be important in your production of the play?

 How does this act develop your overall directorial interpretation?

 How do you want the audience to feel towards Shylock? How will this affect the acting of the
character and that of Salerio and Solanio?

 How do you want the audience to feel towards Jessica? How will this affect the acting of the
character?
 What relationship do you want to create between Lorenzo and Jessica? How will this be shown
in performance?

 What relationship do you want to create between Lancelot Gobo and his father, and also
between Lancelot Gobo and Shylock.?

 What impression of Shylock do you wish to show at his reaction to his daughter eloping with
Lorenzo? How will this be shown in performance?

 How will you want the Prince of Morocco and the Prince of Arragon to be acted?

 How do you want the audience to feel towards Portia? How will this affect the acting of the
character?

Notes
Act Three
(page 70 - 102)

Why would Act Three be important in any production of the play?

Development of plot
 Shylock’s reaction of fury and indignation to his daughter’s elopement is revealed, added to the loss of
his late wife’s ring that Jessica has sold.
 It is discovered that Antonio’s ships have been lost at sea and he cannot repay Shylock.
 Shylock’s anger at losing Jessica and not finding her turns to revenge on Christians and Antonio in
particular on news of the loss of the ships and Shylock has Antonio arrested.
 Bassanio, now at Belmont, chooses the correct casket and he and Portia declare their love. Portia gives
Bassanio a ring as a token of her love.
 Nerissa and Gratiano declare that they are also in love and will marry.
 Lorenzo and Jessica arrive at Belmont with the news that Shylock will have his ‘pound of flesh’ from
Antonio as the bond states, thus killing Antonio.
 Portia gives Bassanio money to pay off the debt and sends him with Gratiano back to Venice, stating
that she and Nerissa will go to a monastery until they return, letting Lorenzo and his new wife Jessica
look after Belmont.
 Portia reveals to Nerissa that they will disguise themselves as young men and travel to Venice see their
new husbands.

Further illustration of themes and issues

 Revenge, which was introduced in Act One now comes to the fore as Shylock decides to have his full
revenge upon Antonio for the loss of his daughter. Although Antonio has been shown to be one of
Shylock’s main tormentors in the past, this may seem as unjust revenge as Antonio played no part in
Shylock’s loss of Jessica
 The issue of law and justice is now developed, through Shylock when seeking revenge, Antonio’s
previous treatment of Shylock and his reaction to being arrested.
 The bond of hatred between Shylock and Antonio is also further developed. Antonio seems to be have
been the Christian that hated Shylock most and Tubul does not comment on having a similar problem
between himself and Christians. Lorenzo also comments on the family bonds between Jessica and
Shylock though whether he is being serious or joking is left unclear.

Development of character and relationships

Shylock
 Shows sadness and loss about Jessica initially.
 This turns to disbelief and anger.
 Shows anger and vengeance in his demand for justice against Antonio.

Portia
 She appears to have less confidence when talking to Bassanio initially
 While previously having appeared to be a determined, strong woman, she submits to Bassanio easily,
thus becoming a more conventional female.
 Yet at the end of Scene Four, has become the independent, strong woman once Bassanio has left.

Lorenzo And Jessica

 Now seen further, the questions about their love are developed from the previous Act.
 Lorenzo and Jessica do not appear close.
 Lorenzo is quite arrogant about himself and condemns Jessica for being her father’s daughter.
 Jessica tries almost too hard to please Lorenzo indicating a possible lack of security in the relationship.

Why might Act Three be important in your production of the play?

 How does this act develop your overall interpretation of the play?

 How will you build up dramatic tension in the episode? Do you want the audience to think
Shylock is right and sympathise with him? Or do you want the audience to feel he is injustice in
taking his anger and revenge upon Antonio, for the loss of his daughter?

 How will you want Shylock to be acted in order for his character to develop from the grief
stricken father who has lost his daughter, the vengeful man who arrests Antonio?

 How will you want Portia to act towards Bassanio as he chooses the casket in contrast to her
reactions to the Prince of Morocco and the Prince of Arragon in the previous Act.

 How will you want Lorenzo to act towards Jessica?

 Will the characters have close physical contact in any scene?

Notes
Act Four
(page 103 - 123)

Why would Act Four be important in any production of the play?

Development of plot
 Antonio is before the court of the Duke of Venice. Shylock demands his bond and refuses to show
mercy.
 Bassanio pleads for Antonio, offering double the amount of money due, while Gratiano abuses
Shylock. Shylock, however, demands justice in the law or the law will be meaningless.
 Portia arrives disguised as a male lawyer, with Nerissa as her male assistant. She agrees with Shylock
but sets a trap for him, by making demand upon the letter of the law.
 As Shylock is about to cut his knife into Antonio, Portia springs her trap, stating Shylock cannot take
any blood as his bond only is for flesh.
 Shylock is defeated and now charged with attempted murder.
 Antonio is freed, Shylock made to give up all his possessions and become a Christian.
 Portia and Nerissa are given the rings from their husbands as payment for services, even although both
Bassanio and Gratiano promised never to part with them

Further illustration of themes and issues

 The key theme of law and justice is developed here. Shylock does not seem aware that while he acts
lawfully, it is not necessarily just. There is then the contrast between this and his treatment by Antonio
and Portia who also go beyond justice once Antonio is freed.
 Revenge is also developed as neither Shylock, nor Antonio show mercy to each other. Portia and
Nerissa set revenge upon Bassanio and Gratiano for placing their love and friendship for Antonio
above their marriages.
 This is linked to the idea of bonds, both through the bonds of love and duty.

Development of character and relationships

Portia
 shows herself to be a intelligent woman
 can be manipulative
 later she reveals a cruel, harsh side in her treatment of Shylock
 appears unaffected by the effect on Shylock as she then plans an elaborate practical joke on Bassanio

Shylock
 shown to be ruthless in his merciless treatment of Antonio.
 the way he is treated by others at the end of the courtroom scene may shift our sympathies back to him.

Antonio
 is revealed to be a less sympathetic character as having been spared, he is excessively cruel to Shylock
rather than showing mercy as may be expected.

Bassanio and Gratiano

 show inability to control emotions.
 put friendship before their marriages, which may have results later on.
 shown to lack the intelligence of the women.

Why might Act Four be important in your production of the play?

 How does this Act develop your overall directorial interpretation?

 What stage positions will the characters take in the court scene? How will this reveal their status
and direct the audiences sympathies to them?
 How do you want Shylock be portrayed and acted? Do you want him to be seen as cruel or have
the audience feel sympathy for him?

 How do you want Antonio to be acted? How do you want the audience to feel about him at this
point?

 How do you want Portia to be acted? How do you want the audience to feel about her at this
point?

Notes
Act Five
(page 124 - 139)

Why would Act Five be important in any production of the play?

Development of plot
 Lorenzo and Jessica, while telling stories of doomed lovers, hear that Portia and Nerissa are returning
as Bassanio and Gratiano with Antonio.
 On arrival back Nerissa challenges Gratiano over the missing ring, as Portia then does with Bassanio.
 The men tell the truth, yet Portia and Nerissa state they will never sleep with their husbands unless the
rings are returned. They then go on to claim they will only sleep with the lawyer and clerk the rings
were given to.
 Portia and Nerissa then produce the rings and claim to have been with the lawyer and clerk.
 They finally reveal that they were the lawyer and clerk.
 Portia produces a letter for Antonio which states all his ships arrived in port safely and that he has his
money and they all enter the house.

Further illustration of themes and issues

 Bonds of love and trust are developed here with the joke played upon Bassanio and Gratiano. The
bonds of loyalty are also developed through Antonio’s acceptance by Portia. This is contrasted by the
lack of inclusion of Jessica by the Christians even although she has converted.

Development of character and relationships

 Portia’s intelligence and manipulation is shown further through the joke she and Nerissa play on
Bassanio and Gratiano, although it could be seen as cruel, in its length.
 Lorenzo and Jessica’s relationship is taken further with their tales of doomed love, perhaps suggesting
an uncertain future for themselves and indeed all the lovers in the play.

Why might Act Five be important in your production of the play?

 How does this act conclude your overall directorial interpretation?

 How do you want Portia and Nerissa to be acted to show their control over their husbands? Will
it be humorous or harsh?

 How do you want Jessica and Lorenzo to be acted? Will they be shown to be getting closer or
further apart in their relationship?

 How do you want Bassanio and Gratiano to be acted?

 How do you want the audience to feel at the end? What message do you want them to take away?

Notes
Section B
Acting Roles
Antonio
Antonio is a complex male role for the actor. The sympathy that his character could generate for his
situation and for the loyalty he shows for his friends, by being willing to die for them; is balanced by the
harshness and cruelty he shows towards Shylock. He can also appear to be uncomfortable around the
women in the play. This role would be a challenge for most able actors.

Bassanio
A good male role, to play the young, carefree lover, who is caught between his love for Portia and the bond
of loyalty to Antonio. While perhaps an easier role to play than Antonio, that can offer support to the less
able actor, can still provide a challenge to the good actor.

Portia
Arguably one of Shakespeare’s strongest female roles. This is a demanding role that requires a strong actor
who can portray Portia’s dominance and manipulation. The actor must show her wit and intelligence and
cunning; while also allowing us to see her racism, deception, cruelty. Portia is a complex character that can
be portrayed in a variety of ways and her role in each main plot line is pivotal.

Shylock
The dominating character in the play, whose influence extends even to the final act, when he is not even
present. Shylock is a difficult role to play if he is to gain any of the audience’s sympathies. A good actor
could successfully adopt the role but leaves open the danger for giving a anti-Semitic performance. The
actor has to be able to show the subtleties and varieties of anger, loss and revenge.

Nerissa
Another good female role. Nerissa generally follows what Portia does. While never having quite the wit or
intelligence of Portia, will stand up to her. She adds a slight comic element to the relationship between
them with her crudeness. A role for the good actor which has opportunities to stretch them.

The Duke Of Venice

A minor role, which could be played by a female. The Duke represents authority. It is a good role for actors
who need support in their performance.

Gratiano
Bassanio’s strong headed, young friend. Shows anger and revenge upon Shylock. A role which takes the
actor to extremes of reaction, with little subtlety between.

Lorenzo
A minor character who has married Jessica, Shylock’s daughter. can be portrayed simply as her love or
with greater depth leaving the audience questioning his love for Jessica and his hatred for Jews. A good
choice for an actor who needs support in their performance.
Recommended acting pieces

Page reference: 15 - 21 (Act One Scene 2)

Opening line: ‘By my troth Nerissa,...’ line 1
Closing line: ‘... and I remember him worthy of thy praise.’ line 115

Casting: 2 female

Characters: Portia and Nerissa

Approximate length: 6 minutes

Comments: This scene is probably the strongest between Portia and Nerissa. A good
opportunity to see the relationship between Portia and Nerissa. While allowing Portia to
reveal her wit and intelligence, it offers the modern audience insight into some of her less
admirable characteristics. This is a lively scene that allows Portia to mock and imitate
with gusto the suitors that she comments upon.

Page reference: 21 - 31 (Act One Scene 3)

Opening line: ‘Three thousand ducats, well.’ line 1
Closing line: ‘My ships come home a month before the day.’ line 177

Casting: 3 male

Characters: Antonio, Bassanio and Shylock

Approximate length: 10 minutes

Comments: An important dramatic scene, that reveals the attitudes and relationships
between the three male, main characters and sets up the events that will take place in
Venice later. It is the first appearance of Shylock, allowing us to see his true thoughts and
intentions and the contrast to Antonio in how he deals with him. A good, simple scene
that allows a variety of emotions to be expressed, while the language is fairly easy.
Page reference: 56 - 61 (Act Two Scene 7)
Opening line: ‘Go, draw aside the curtains and discover’ line 1
Closing line: ‘Let all of his complexion choose me so.’ line 77

Casting: 2 female and 1 male

Characters: Portia, Nerissa and The Prince of Morocco

Approximate length: 5 minutes

Comments: This is a scene which allows the actor playing The Prince of Morocco ample
opportunity to stretch and dominate the scene. He can be played either as a self deluded
fool and fop, or a noble man who holds him self with honour and dignity. Portia and
Nerissa, while having few lines, are ever present and so are roles suitable for actors who
are stronger on reaction and mime for their reactions hold the key to how Morocco is
interpreted by the audience.

Page reference: 74 - 76 (Act Three Scene 1)

Opening line: ‘How now Tubal! what news from news from Genoa?’ line 72
Closing line: ‘Tubal, -at our synagogue Tubal.’ line 120

Casting: 2 male

Characters: Shylock and Tubal

Approximate length: 3 minutes

Comments: While a short scene it is a very strong scene for Shylock, using Tubal as the
foil to act against. Shylock is shown to be caught clearly between conflicting emotions
allowing a strong actor to show depth in performance, whether at the loss of Jessica,
Shylock’s wealth, or hatred and revenge upon Antonio. A scene that requires a versatile
actor for the role of Shylock.
Page reference: 104 - 108 (Act Four Scene 1)
Opening line: ‘Make room, and let him stand before our face.’ line 16
Closing line: ‘I stand for judgment, -answer, shall I have it?’ line 103

Casting: 4 male; or 3 male and 1 female

Characters: Antonio, Bassanio, Shylock and The Duke (plus extras if desired)

Approximate length: 5 minutes

Comments: A difficult scene that has to be dealt with a great deal of consideration about
where the actor’s have to leave the audience’s sympathy. While Shylock dominates the
scene, and both our sympathy and antipathy, Antonio’s response to the situation calls for
an actor with subtlety so as to clearly direct the audience’s emotional responses.

Page reference: 111 - 120 (Act Four Scene 1)

Opening line: ‘Which is the merchant here? and which the Jew?’ line 170
Closing line: ‘ To bring thee to the gallows, not to the font.’ line 396

Casting: 5 males and 2 females or 4 males and 3 females

Characters: Antonio, Shylock, Bassanio, Gratiano, Portia, Nerissa and The Duke

Approximate length: 14 minutes

Comments: This scene is the strongest and most powerful in the play, containing its
most famous line. Yet it is difficult as it contains the serious commentary on justice and
mercy while having touches of humour in Portia and Nerissa’s deception of their
husbands. It is a scene that requires strong performances from the actors to achieve a
good balance, but offers support to less able actors in the minor roles.
 Page reference: 120 - 122 (Act Four Scene 1)
Opening line: ‘Most worthy gentleman, I and my friend’ line 404
Closing line: ‘Fly toward Belmont, -come Antonio’ line 453

Casting: 3 males and 2 females

Characters: Antonio, Bassanio, Gratiano, Portia and Nerissa

Approximate length: 3 minutes

Comments: A short scene that is one of the easiest for the characters, full of humour and
double meaning where the audience are in upon the joke. Taken in context with what has
gone before, Portia can appear callous at her disinterest as to Shylock’s current
predicament, however as a scene upon its own, it allows the actors to have great fun.

Page reference: 132 - 139 (Act Five Scene 1)

Opening line: ‘ We should hold day with Antipodes,’ line 127
Closing line: ‘ So sore, as keeping safe Nerissa’s ring.’ line 307

Casting: 4 males and three females

Characters: Antonio, Bassanio, Gratiano, Lorenzo, Portia, Nerissa and Jessica

Approximate length: 7 minutes

Comments: A dark humoured scene, that has the potential to stretch actors dependent on
if they wish to portray Portia and Nerissa as being cruel. This is a good scene for both
Bassanio and Gratiano as well as they can revel in their pleading to their wives.

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